2 x Caselight 2 + Pro light for 3 point at DVinfo.net

Mark Joseph · July 22nd, 2009, 05:10 AM

What would be your recommendation for lighting interviews and piece to cameras : 1 case light as key, caselight with eggcrate as fill and Prolight for back/highlight? The problem I foresee is most shooting is corporate office under the office flouros, the caselights are fitted with daylight globes I will need a diochroic filter to match the Prolight.

I'm walking into a new area and will be working with already purchased kit - the options I can specify may be scrims,gels etc.

Mark

David W. Jones · July 22nd, 2009, 05:51 AM

Quote:

Originally Posted by Mark Joseph

the caselights are fitted with daylight globes I will need a diochroic filter to match the Prolight.

Mark

Either re-tube the caselights to 3200k or gel the Prolight.

Shaun Roemich · July 22nd, 2009, 07:50 AM

Or use the ProLight uncorrected, realizing it will add a "warm glow" to your backlight. I mix colour temp all the time BUT I've been lighting for 11 years and have STARTED to get the hang of visualizing what it will look like before I throw up a monitor.

As a side note: if your case lights are identical wattage, try to use one of them at twice the distance from your subject than the other. This will give you a key-to-fill ratio that will allow for some texture and detail UNLESS you are specifically looking for VERY flat lighting (not my PERSONAL favourite look...)

Dan Brockett · July 22nd, 2009, 02:28 PM

I always use the Pro Light as an uncorrected hair light when using my Cool Lights LED600s or my homemade Kino Diva 200s with Kino 5500 tubes as key/fill. I love the warm gold/amber hair light, it is very flattering for most people.

If it's too much, I throw a piece of 1/4 or 1/2 CTB to tone it down if needed.

Dan

Bill Pryor · July 23rd, 2009, 03:37 PM

Most offices I have shot in seem to have fluorescents that are around 4500K, some even cooler, and there's usually some significant daylight mixed in. So I normally shoot daylight (with Flolight 500LEDs). When I mix in tungsten, I do as suggested above and use 1/2 CTB so it's a little warm.

Guy Cochran · July 23rd, 2009, 05:33 PM

I'm using the Pro light with the either a full CTB or 1/2 CTB gel mixed with a Caselight for the key. I almost always find myself using one of these cool little $20 dimmers on the Pro as once I get that backlight high up on a boom arm, it's easier just to dial in the right amount light from the ground than it is to take it back down and adjust scrims or barndoors. Here is an inexpensive dimmer that works well - Harbor Freight Tools - Quality Tools at the Lowest Prices Remember, that as you dim the light, it will get warmer.

Greg Laves · July 23rd, 2009, 07:46 PM

When I shoot in a corporate environment, I always kill the office flourescents. And I agree with others that the ProLight works great as a rim or hair light under most circumstances. Occasionally, I might add CTB to the ProLight. It is a lot easier than adding CTO to bigger lights. And any daylight that may spill in works much better with the daylight lamps.

Mark Joseph · July 24th, 2009, 05:27 PM

Thank you for all for the discussion - unfortunately my carefully considered plan is out the window my stomach is turning knots with what is now happening. They want me to shoot the head of the department and his 3 his deputies...all that has arrived is 1 x lightstand, 1 caselight2, 1 prolight (w/ barndoor, diochroic filter + holder)

I'm told I can borrow a flood and a spot from another department. OMG - way overkill for MCU/CU and no gels for the 1 caselight2. Bounce? The room is lined with gold drapes.

We have to shoot in a room with no window because the exec are all avail at different times from late pm to early evening.

This is high risk as previously they outsourced @ $10k a pop. Without appropriate tools I'm going to look bad. I've studied the theory, but I'm not practiced in elaborate lighting. Holy...
If lay it on the line with advice as above then maybe the decision will be made to abandon the job---but they just spent $$ on the internal capability (2xHVR-Z5, Lowell, MacPro, MacBook Pro, so it's not what they want to hear.

Evan Donn · July 25th, 2009, 12:25 PM

No problem - as long as you have a light it's possible to do good lighting, and you have two!

In your situation I'd use the caselight as key and go get a big foamcore from your local office supply to bounce your fill. The bounce from the caselight might not be enough for fill though on it's own. Throw the pro light high and behind on the same side as the caselight, so it acts as an edge while also pointing straight at the bounce card. White balance to the caselight and the pro light will give you a warm edge light and warmish fill which should look fine.

Mark Joseph · July 27th, 2009, 08:55 AM

The challenge: ea of 3 execs will be filmed separately as if they are having conversational-style interview with the CEO. Examples I've seen of this are lit as if the primary light source is between & little behind two people turned roughly 45 degrees talking to ea other. The third exec comes in after two - so continuity is now a whole new concern as I'm having to reset light depending on the if the CEO is seated R and his deputies taking turns on the L.

July 22nd, 2009, 05:10 AM	#1
Mark Joseph Regular Crew Join Date: Jan 2004 Location: ACT Australia Posts: 148	2 x Caselight 2 + Pro light for 3 point What would be your recommendation for lighting interviews and piece to cameras : 1 case light as key, caselight with eggcrate as fill and Prolight for back/highlight? The problem I foresee is most shooting is corporate office under the office flouros, the caselights are fitted with daylight globes I will need a diochroic filter to match the Prolight. I'm walking into a new area and will be working with already purchased kit - the options I can specify may be scrims,gels etc. Mark Last edited by Mark Joseph; July 22nd, 2009 at 05:40 AM.

July 22nd, 2009, 07:50 AM	#3
Shaun Roemich Inner Circle Join Date: Sep 2002 Location: Vancouver, British Columbia (formerly Winnipeg, Manitoba) Canada Posts: 4,088	Or use the ProLight uncorrected, realizing it will add a "warm glow" to your backlight. I mix colour temp all the time BUT I've been lighting for 11 years and have STARTED to get the hang of visualizing what it will look like before I throw up a monitor. As a side note: if your case lights are identical wattage, try to use one of them at twice the distance from your subject than the other. This will give you a key-to-fill ratio that will allow for some texture and detail UNLESS you are specifically looking for VERY flat lighting (not my PERSONAL favourite look...) __________________ Shaun C. Roemich Road Dog Media - Vancouver, BC - Videographer - Webcaster www.roaddogmedia.ca Blog: http://roaddogmedia.wordpress.com/

July 23rd, 2009, 05:33 PM	#6
Guy Cochran DVCreators.Net Join Date: Oct 2001 Location: Seattle, WA Posts: 892	I'm using the Pro light with the either a full CTB or 1/2 CTB gel mixed with a Caselight for the key. I almost always find myself using one of these cool little $20 dimmers on the Pro as once I get that backlight high up on a boom arm, it's easier just to dial in the right amount light from the ground than it is to take it back down and adjust scrims or barndoors. Here is an inexpensive dimmer that works well - Harbor Freight Tools - Quality Tools at the Lowest Prices Remember, that as you dim the light, it will get warmer. __________________ Guy Cochran DVinfo Sponsor, Cool Gear - DVeStore!

July 25th, 2009, 12:25 PM	#9
Evan Donn Major Player Join Date: Feb 2006 Location: Philadelphia Posts: 795	No problem - as long as you have a light it's possible to do good lighting, and you have two! In your situation I'd use the caselight as key and go get a big foamcore from your local office supply to bounce your fill. The bounce from the caselight might not be enough for fill though on it's own. Throw the pro light high and behind on the same side as the caselight, so it acts as an edge while also pointing straight at the bounce card. White balance to the caselight and the pro light will give you a warm edge light and warmish fill which should look fine. __________________ My latest short documentary: "Four Pauls: Bring the Hat Back!"

July 22nd, 2009, 02:28 PM	#4
Dan Brockett Inner Circle Join Date: Feb 2006 Location: Los Angeles, California Posts: 2,109	I always use the Pro Light as an uncorrected hair light when using my Cool Lights LED600s or my homemade Kino Diva 200s with Kino 5500 tubes as key/fill. I love the warm gold/amber hair light, it is very flattering for most people. If it's too much, I throw a piece of 1/4 or 1/2 CTB to tone it down if needed. Dan

July 23rd, 2009, 03:37 PM	#5
Bill Pryor Contributor Join Date: Jan 2003 Location: Kansas City, MO Posts: 4,449	Most offices I have shot in seem to have fluorescents that are around 4500K, some even cooler, and there's usually some significant daylight mixed in. So I normally shoot daylight (with Flolight 500LEDs). When I mix in tungsten, I do as suggested above and use 1/2 CTB so it's a little warm.

July 23rd, 2009, 07:46 PM	#7
Greg Laves Major Player Join Date: Nov 2007 Location: Corpus Christi, TX Posts: 640	When I shoot in a corporate environment, I always kill the office flourescents. And I agree with others that the ProLight works great as a rim or hair light under most circumstances. Occasionally, I might add CTB to the ProLight. It is a lot easier than adding CTO to bigger lights. And any daylight that may spill in works much better with the daylight lamps.

July 24th, 2009, 05:27 PM	#8
Mark Joseph Regular Crew Join Date: Jan 2004 Location: ACT Australia Posts: 148	Thank you for all for the discussion - unfortunately my carefully considered plan is out the window my stomach is turning knots with what is now happening. They want me to shoot the head of the department and his 3 his deputies...all that has arrived is 1 x lightstand, 1 caselight2, 1 prolight (w/ barndoor, diochroic filter + holder) I'm told I can borrow a flood and a spot from another department. OMG - way overkill for MCU/CU and no gels for the 1 caselight2. Bounce? The room is lined with gold drapes. We have to shoot in a room with no window because the exec are all avail at different times from late pm to early evening. This is high risk as previously they outsourced @ $10k a pop. Without appropriate tools I'm going to look bad. I've studied the theory, but I'm not practiced in elaborate lighting. Holy... If lay it on the line with advice as above then maybe the decision will be made to abandon the job---but they just spent $$ on the internal capability (2xHVR-Z5, Lowell, MacPro, MacBook Pro, so it's not what they want to hear.

July 27th, 2009, 08:55 AM	#10
Mark Joseph Regular Crew Join Date: Jan 2004 Location: ACT Australia Posts: 148	The challenge: ea of 3 execs will be filmed separately as if they are having conversational-style interview with the CEO. Examples I've seen of this are lit as if the primary light source is between & little behind two people turned roughly 45 degrees talking to ea other. The third exec comes in after two - so continuity is now a whole new concern as I'm having to reset light depending on the if the CEO is seated R and his deputies taking turns on the L.